Julia M Burdajewicz
October 2013- present
Assistant professor at the Department of Conservation of Archaeological Sites and at the Department of Conservation of Panel Paintings, Faculty of Conservation and Restoration of Works of Art, Academy of Fine Arts, Warsaw, Poland
October 2013-April 2019 PhD candidate at the Institute of Archeology, University of Warsaw
September 2012-October 2013
National Gallery of Art, Washington, DC
Andrew W. Mellon Fellow in Advanced Training in Painting Conservation
September 2011-September 2012
National Gallery of Art, Washington, DC
Post-graduate Intern in Museum Profession
September 2010-September 2011
J. Paul Getty Museum, Los Angeles, California
Post-graduate Intern in Paintings Conservation Department of the J. Paul Getty Museum.
October 2003 - March 2010
M.A. degree in Conservation and Restoration of Paintings, graduated with honors, Faculty of Conservation and Restoration of Works of Art, Academy of Fine Arts, Warsaw, Poland
February - June 2008
Department of Conservation of Antiquities and Works of Art, Technological Educational Institute of Athens, Greece
EU Socrates Erasmus Scholarship Program
Assistant professor at the Department of Conservation of Archaeological Sites and at the Department of Conservation of Panel Paintings, Faculty of Conservation and Restoration of Works of Art, Academy of Fine Arts, Warsaw, Poland
October 2013-April 2019 PhD candidate at the Institute of Archeology, University of Warsaw
September 2012-October 2013
National Gallery of Art, Washington, DC
Andrew W. Mellon Fellow in Advanced Training in Painting Conservation
September 2011-September 2012
National Gallery of Art, Washington, DC
Post-graduate Intern in Museum Profession
September 2010-September 2011
J. Paul Getty Museum, Los Angeles, California
Post-graduate Intern in Paintings Conservation Department of the J. Paul Getty Museum.
October 2003 - March 2010
M.A. degree in Conservation and Restoration of Paintings, graduated with honors, Faculty of Conservation and Restoration of Works of Art, Academy of Fine Arts, Warsaw, Poland
February - June 2008
Department of Conservation of Antiquities and Works of Art, Technological Educational Institute of Athens, Greece
EU Socrates Erasmus Scholarship Program
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Papers by Julia M Burdajewicz
romano (II sec. d.C.) e quelle provenienti da una basilica tardoantica (fine V sec. d.C.) a Chhim, in Libano. Poter
analizzare decorazioni frammentarie appartenenti a periodi diversi ma provenienti dallo stesso sito ha offerto
un’eccellente opportunità per ricostruire i cambiamenti nell’esecuzione dei dipinti murali verificatisi su un periodo di
tre secoli. La composizione delle malte e l’identificazione dei pigmenti è stata effettuata mediante metodi analitici come
la petrografia su sezioni sottili, XRD, SEM-EDS, Raman, GC-MS e HPLC-MS. Una delle principali osservazioni
che potrebbero essere fatte sulla base dei risultati delle analisi e dell’esame macroscopico è che sono state utilizzate
materie prime molto simili per la preparazione degli intonaci per entrambi gli edifici. Il principale cambiamento si è
verificato nel modo di applicazione di questi materiali. Nella tarda antichità, ad esempio, un numero inferiore e più
sottile di strati preparatori ha probabilmente contribuito alla cattiva condizione dei dipinti murali.
of decoration of the church?
A significant contribution to this project was the documentation of the state of preservation of the mosaics, the techniques of execution as well as their iconographical traits. Prepared with the application of advanced digital methods, it turned out to be essential for the understanding of relative chronology of the mosaics and the history of the whole North-West Church complex. Since the exploration is completed, the church requires a long scale plan of managing and a permanent exhibition of the mosaics to the public in their architectural context which would allow them to speak on the site’s history.
romano (II sec. d.C.) e quelle provenienti da una basilica tardoantica (fine V sec. d.C.) a Chhim, in Libano. Poter
analizzare decorazioni frammentarie appartenenti a periodi diversi ma provenienti dallo stesso sito ha offerto
un’eccellente opportunità per ricostruire i cambiamenti nell’esecuzione dei dipinti murali verificatisi su un periodo di
tre secoli. La composizione delle malte e l’identificazione dei pigmenti è stata effettuata mediante metodi analitici come
la petrografia su sezioni sottili, XRD, SEM-EDS, Raman, GC-MS e HPLC-MS. Una delle principali osservazioni
che potrebbero essere fatte sulla base dei risultati delle analisi e dell’esame macroscopico è che sono state utilizzate
materie prime molto simili per la preparazione degli intonaci per entrambi gli edifici. Il principale cambiamento si è
verificato nel modo di applicazione di questi materiali. Nella tarda antichità, ad esempio, un numero inferiore e più
sottile di strati preparatori ha probabilmente contribuito alla cattiva condizione dei dipinti murali.
of decoration of the church?
A significant contribution to this project was the documentation of the state of preservation of the mosaics, the techniques of execution as well as their iconographical traits. Prepared with the application of advanced digital methods, it turned out to be essential for the understanding of relative chronology of the mosaics and the history of the whole North-West Church complex. Since the exploration is completed, the church requires a long scale plan of managing and a permanent exhibition of the mosaics to the public in their architectural context which would allow them to speak on the site’s history.
Hippos-Sussita, as one of the cities of the Decapolis, was a center of Hellenistic-Roman culture in the region. In the mid-4th century it became an episcopal see and an important Christian town. Thus far, remains of four churches have been identified and excavated at the site. The NWC was constructed most likely in the early(?) 6th century on top of remains of a large pagan temple which used to occupy the central part of the town. The monumental walls of the temple were incorporated in the church's layout, whereas many architectural carved elements from Roman buildings, such as cornices or architraves, were reused either as structural elements or as decoration of the church. The interior was adorned with colorful mosaic floors and wall paintings. The mosaics' patterns represent a local style of pavement decoration. Even though the wall paintings were found in fragmentary state of preservation, it was possible to identify a few decorative motifs. Interestingly, it appears that both the mosaic floors and the paintings were aniconic. Moreover, as compared to the Roman period fragments of wall paintings found at Hippos, the NWC paintings are characterized by a rather simplified and crude technique of execution. The case of the NWC demonstrates that the transition from pagan to Christian art occurred not only in the iconography and its semantics, but also in material aspects of arts and architecture.
Careful study of these remains shows strong iconographic links of early Christian wall paintings to the Roman art. Motifs found in decoration of churches appear also in synagogues. Continuation of some of the decorative patterns can be found in Umayyad mural decoration, as well as in the geometric art of the later Islamic period. Not surprisingly, geographically close Coptic art shows many similarities to mural decoration of the early Christian churches of the Levant. Finally, an interchange of motifs is also evident between wall paintings and other kinds of art from that period, such as mosaic floors, textiles and manuscripts coming from all over the Byzantine Empire.
This paper will present wall paintings from several early Christian sites in the southern Levant (modern-day Israel/Palestine, Lebanon and Jordan) and will discuss how these findings testify to cross-cultural artistic inspirations and exchanges, and at the same time, how such evidence could shed some light on nearly unexplored subject of mural decorations in early Christian churches.
This paper presents a case study where a new method of digital graphic documentation was employed. The goal of the undertaking was to record condition and past treatments of a mosaic floor from an early Christian church in Susita (Israel). The main challenges were the large size of the mosaic and numerous phenomena to be documented and categorized. The base-image for the mapping was drawn in a vector program (CorelDRAW), based on photographs and measurements taken on the site. The mapping was done in metigoMAP, a vector graphic software developed specifically for conservation documentation. MetigoMAP combines the most valued functions sought by conservators in CAD and GIS programs and it is relatively simple. Among others, it allows mapping various phenomena on multiple independent layers, organizing them by category, automatic measurements (including area calculation), creating legends or adding annotations. Export of the map to different file types allows easy sharing of information.
The outcome of this project was a clear graphic documentation which contained precise quantitative values. Such quantitative data which show an exact scope of issues to be addressed through conservation treatments, is also crucial for
The present volume is the outcome of a comprehensive study carried out in 2014-2019 within the frame of an archaeological expedition organized jointly by the Polish Centre of Mediterranean Archaeology (PCMA) of the University of Warsaw and the Lebanese Directorate General of Antiquities (DGA). The study addresses a wide range of issues, including the iconography of individual representations and the overall iconographic programs applied in the different architectural contexts (church and private houses), the style and artistic qualities, dating, execution techniques and materials employed. It also presents the current condition of the paintings and the conservation project that accompanied the author’s research.
The study on the wall paintings from the basilica and houses of Porphyreon is a major contribution to a sorely underexplored subject - the Late Antique wall paintings from the Eastern Mediterranean and the role they played as a link between Roman painting, which they were a successor of, and Byzantine art of which they were a forerunner.